Despite conflicting reviews that surround this album, American outfit VHS or Beta have proved themselves as one cool indie-rock meets electro-pop group with the release of their third full-length album Bring On The Comets. Somewhat different to their previous work, VHS or Beta have, this time around, indulged in their rock influences, combining it with their original dance-punk sound, resulting in an album reminiscent of the 80s.

VHS or Beta have shifted from a predominantly dance sound to a more song-orientated pop group, with an emphasis on guitar based rock and big vocal choruses. It does seem strange that a dance outfit would turn rock, instead of the other way around; but does this mean they lose all credibility for taking a leap in a different direction? Comparatively to their earlier releases, VHS or Beta have created a formula for top 40 success and a wider marketability than before. Leaving all previous opinions at the door, I have decided to look at this album in isolation, as a work of its own. Bring On The Comets is collectively a showcase of VHS or Beta’s ability to blend solid pop hooks with dance beats. Perhaps it’s not the best definition of what could be defined as an indie-rock album; nevertheless, was that really the intended purpose of their change? Whatever your opinion, it can’t be denied that this album delivers danceable rock with a pop twist.

The album opens up with a 68 second warm-up track Euglama. A bass-heavy dance groove, that begins with an almost muffled sound. As the riff progresses, guitars are added while still maintaining a dance beat. After a short pause the album moves onto Love In My Pocket, where they introduce a heavier, rock sound using a minor variation of the guitar riff from the opening track. The first single Can’t Believe a Single Word has a punchy beat, interesting chord changes and a pop inspired chorus that is catchy – you’ll find yourself singing along to it, even if you aren’t in love with it. Some stand out tracks include Burn It All Down with its electro-infused militant rhythm and the post-punk influenced Time Stands Still. The title track has a more epic ballad feel, think cosmic arena, perhaps an electro-pop rendition of Muse?

Many of the songs on Bring on the Comets have bits and pieces that sound like songs you have heard before, mirroring 80s pop-rock songs from predecessors like U2, Depeche Mode and Duran Duran. The dance element is passive and the synths and bass have been put on overload, resulting in an attractive type of pop. It’s not so much an original or groundbreaking piece of work, but it undeniably boasts an upbeat and energetic sound and some solid tunes to boot. It’s an enjoyable album that, regardless of its genre, is engaging and able to be listened to from start to finish. The album fulfils its the purpose of being catchy and dance worthy, and when dropped on the right dance floor, it’s sure to get a positive reaction.

The only real glitch in this album is that as you move through it, the non-stop dip in the ‘perfect, polished, glossy’ effect becomes almost overwhelming. The approach is seemingly repetitious; the majority of the tracks have this epic crescendo and scream ‘anthem’ – my criticism here is: too much of a good thing in one go? Bring On The Comets is a decent album that should be approached much like a block of rich chocolate or a bottle of liqueur – small servings! A taste of this album can be invigorating and uplifting, however too much can just become exhausting and even boring. The good news is that that VHS or Beta seem to be moving towards a bright white light, away from The Killers style dance-punk, experimenting and evolving, on a quest to find their own style. They’re not quite there yet, nor have they hit anyone’s G-spot; but they definitely receive brownie points for trying. It will be interesting to see what they do next time around. If you like The Cops, the 1990s or The Infadels, you are sure to like VHS or Beta’s Bring On The Comets.